本文以費農．雷傑為例，探究藝術家意圖結合為藝術與為社會的兩端時之處境。雷傑藝術家的聲名建立於第一次世界大戰前立體主義時期，然而他對藝術家職業身份的認同於第一次世界大戰產生變化，由戰前的「藝術家」到戰後「社會中的藝術家」，戰後他以多項可行的方式積極推廣現代藝術並施展藝術家對社會的抱負，但由於他依然延續戰前現代主義中已建立的藝術自主性理念，肯定繪畫本身的表現力，同時維護藝術不同於現實生活的面向，使得他在參與社會與守護藝術的拉拒間藝術家的職業身份處於一個緊張的狀態。本文由雷傑第一次世界大戰後各項藝術實踐的案例觀察，在為藝術和為社會的拉拒中藝術自主性與社會性的關係可歸納為三個方向：其一，藝術的自主性與社會性原本即為一體實踐的兩面；其二，身為藝術的作品進入社會，必須保有最低限度的自主性；其三，作品以其自主性的消減獲得參與社會的機會。此外，綜觀雷傑五十年藝術生涯整體的實踐都是出於一位畫家的職能，訴諸於視覺，他的作品擺脫當代藝術的費解，讓繪畫回到感覺的領域。對感官的啟發為雷傑認為藝術於現代社會中扮演的角色。 This study examines the situations an artist might face in trying to link up the autonomy of art with its social functions, and Fernand Léger is the case in point. The war of 1915-1918 was a dividing line in Léger’s art and thought between the formalism of his well-known cubist period and the increasing public concerns of his entire later life. His identification of the artistic career changed from an “artist” to an “artist in society.” However, he was facing the dilemma of defending the autonomy of art or making his work understandable and accessible to the public. On the controversial issue of work for art or work for society, in Léger’s case, the findings confirm that: First, the supposed autonomous development of art is inextricably bound up with an artist’s social practice. Second, as a work of art in society, it must be more or less in the condition of self-government or independent. Third, the independence of artistic practice will be diminished in exchange for more involvement in social activities. To sum up Léger’s artistic career as a whole, what he had done is that of a painter’s duty, and his art is essentially visual. He attempts to distinguish his works from those hermetic modern ones, getting them back to the realm of sensation. For Léger, to enlighten the human senses is the function of art in modern society.